学生作品指南
版权所有 此作品已进入公有领域。Chen Hongshou 于 1652 年逝世；版权在艺术家去世后延续 70 年，因此已于 1722 年届满。
语境中
Plum-blossom study — Chen Hongshou
原件尺寸为 129 × 55 厘米（高 × 宽），此处将其与一名平均身高的成年人并列展示。
上行：年份。下行：艺术家在每个时间段开始与结束时的年龄 —— 出生时为 0，去世时为 54。
创作于艺术家 42 岁时。 这位艺术家享年 54。 9 在我们目录中该艺术家的 10 件有明确日期的作品中，早于此件的作品。
阴影：Chen Hongshou 的生卒年 (1598–1652) ▲ 此作，1640 每一幅带有日期的画作，按年代编排
早期作品：至 1620 主要执业年份：1620–1633 晚期作品：始于 1633
这三个阶段将本目录中已有明确日期的作品划分为第一季度、中期及最后季度。这些时期并不代表艺术家的全部创作：某些时期的作品稀少，可能源于记录的缺失，而非创作的停滞。 岁月流转，与艺术家的生命轨迹交相辉映
从上方作品中任选其一：列出它与此件作品的两个共同点，以及一个不同点。
更多与此作品相媲美的佳作：originaluniqueart.com/zh/art/similar/chen-hongshou-plum-blossom-study-D4375V-en/
图像测量值
主色调
Putty #d9c5a9
已收藏色板
十大领先国家
在地图上找出颜色最深的三个国家。收藏这幅画作的博物馆是否位于其中之一？请写下一个让远方的人们想要观赏它的理由。
这些作品共同占据了该艺术家画作在过去十二个月中所获关注度的 100.0%。该目录收录了 24 件该艺术家的作品，其中 11 件曾被至少浏览过一次。 This painting ranks 2 of them, with 13.3% of that attention (200 visits). 每月统计数据保持一致
条形图衡量的是关注度，而非品质。请选择排在首位的作品以及这一件：列举一件除了绘画技巧之外，可能使一幅画作闻名遐迩的因素。
关于此艺术品
Plum-blossom study — Chen Hongshou
Calligraphy, the art of handwriting, is regarded in China as the highest form of visual art. Its artistic and expressive qualities are independent of the meanings of the written words. This piece of calligraphy is in the form of a poem; a seven character quatrain written in four columns of semi-cursive script, read from right to left, top to bottom. The poem which was composed by Chen and written for a friend can be translated as follows:The Plum blossom study is crowded by chariots of war,I have already lost my home but my uncle has a house;In dreams, I go to the plum-blossoms and wake up in the studyBut thick frost and light snow have finished the blossoming plums. The poem is followed by the artist’s signature and inscription: ‘Hongshou wrote this for the appreciation of Erfu, elder brother in poetry’ and two artist’s seals. The poem is autobiographical and has political undertones. Chen speaks of the devastation brought about by war. Symbols of nature and literary puns are used to express different levels of meaning. The plum blossom, mentioned three times in the poem, symbolises the strength to survive under harsh conditions, as it has the power to regenerate itself. After surviving the cold winter, the prunus is the first tree to bloom in early spring, often before the snow has melted. Frost and snow are here used to signify the hostile elements that prematurely destroyed blossoming plums. The last character hua , meaning `blossoms’ in `mei (plum) hua (blossoms)’, also means `China or Chinese civilisation’. By implication, like the plum blossom, China will survive the foreign rule of the Manchu barbarians, in spite of the hostile elements of snow and frost, and will regenerate. In the semi-cursive style of calligraphy, Chen expresses his inner anguish with elegance and restraint. The character can (reading from right to left, second character from the bottom of the third row), meaning `remnant, remaining or light’, is written in soft, light ink, in almost one continuous brushstroke. The brushstrokes and tonal textures of ink are evocative of the resonance of the life force (qi in Chinese, pronounced `chee’) of nature, and the spontaneous movement of the brush reflects the natural flow of the artist’s life energy.Text by Dr Mae Anna Pang © National Gallery of Victoria, Australia
艺术家与博物馆
chen hongshou, a prominent chinese painter, was born in 1598 in zhuji, zhejiang province, during the late ming dynasty. his courtesy name was zhanghou (章侯), with pseudonyms including laolian (老莲), fuchi (弗迆), yunmenseng (云门僧), huichi (悔迆), chiheshang (迆和尚) and huiseng (悔僧). under the tutelage of lan ying, chen honed his skills in painting peculiar human figures, landscapes, flower-and-bird art, utilizing plump, profound brushwork and precise color.
chen's unique style set him apart from his contemporaries. his masterpieces, "shui hu ye zi" (水浒叶子) and "bo gu ye zi", are rare examples of the ming and qing dynasties' artistic excellence. these works showcase his skill in capturing the essence of traditional chinese art.
chen's works are preserved in museums globally, including:
appreciating plums, guangdong provincial museum
man holding ganoderma lucidum
an elegant gathering, shanghai museum
drinking wine in the garden, shanghai museum
landscape of pine valley, shanghai museum
tao yuanming, honolulu museum of art
chen's legacy extends beyond his art; he was also skilled in calligraphy, poetry, and prose.
dive into the enigmatic world of chen hongshou through [https://AllPaintingsStore.com/@/chen-hongshou](https://AllPaintingsStore.com/@/chen-hongshou), where you can discover more about his life, art, and the era he lived in. AllPaintingsStore.com offers a vast collection of art reproductions, including chen's works, allowing you to bring a piece of history into your home.
visit /en/art/show/art-d3cl2x-en/ for a journey through art history with AllPaintingsStore's extensive collection.
explore the [medieval art (12th-15th /en/art/show/medieval/ section for more insights into the evolution of art.
immerse yourself in the captivating world of chen hongshou and the rich heritage of chinese art.
展出于 Melbourne, Australia
坐落于墨尔本市中心充满活力的心脏地带，澳大利亚国家美术馆（NGV）不仅仅是一座博物馆，更是对艺术成就和民族精神不断演变的生动见证。自1861年黄金热潮时期建立以来，NGV最初只是一个谦逊的场所，收藏着欧洲雕塑的石膏像复制品——为渴望与既定艺术传统建立联系的新兴殖民地提供了一种切实的纽带。如今，它已发展成为一个无与伦比的机构，拥有超过76,000件作品，横跨几个世纪和大陆，构成了一部人类创造力的活生生的编年史，巧妙地交织着澳大利亚独特的叙事。NGV超越了单纯的艺术展示，更像是一场穿越时空的文化对话，邀请观者沉思于人性的本质，由既熟悉又深刻出人意料的杰作点燃灵感。
美术馆的故事始于对殖民抱负的一种务实回应：一种根植于追求文化平等的早期愿景。最初的收藏重点是欧洲雕塑的石膏像复制品，为那些原本遥不可及的艺术传统提供了有形的存在。这种战略选择强调了一种深刻的雄心壮志——力求模仿既定欧洲强国的文化精致，反映了那个时代对艺术变革力量和塑造民族认同能力的坚定信念。然而，随着NGV视野的开阔，它认识到代表多元艺术声音和传统的必要性，这一最初的重点迅速发生了转变。英国大师画作的收购标志着一个关键的转折点，为美术馆享有盛誉的欧洲艺术收藏奠定了基础。
围绕NGV的建筑景观与内部藏品同样引人入胜。由悉尼·罗伊·格朗兹设计，后经马里奥·贝利尼巧妙改造的NGV国际，立刻吸引了人们的目光。其分层空间经过精心设计，旨在引导参观者穿越几个世纪的艺术探索，沐浴在自然光线下——这是一种有意识地努力营造沉浸感和联系的方式。建筑高耸的天花板、宽敞的窗户以及经过深思熟虑的流通模式创造了一种既宏伟又亲密的氛围。紧邻这座宏伟建筑的是位于联邦广场的伊恩·波特中心：NGV澳大利亚，这是一个对比鲜明的空间，由实验室建筑工作室设计，体现了澳大利亚艺术的活力。这个现代化的结构以其引人注目的几何形式和玻璃的使用为反衬，与国际馆更为传统的审美形成了强烈的对比，反映了美术馆展示国内外人才的承诺。
NGV的收藏 defies easy categorization, reflecting an unwavering commitment to representing global artistic expression. From Hugh Ramsay's hauntingly introspective portraits capturing the melancholy of Australia finding its voice – works that powerfully document the transition from colonial outpost to independent nation – to Kusakabe Kimbei’s pioneering Japanese photography and Rupert Charles Wulsten Bunny’s luminous Australian paintings celebrated in Paris, the gallery champions artists from diverse backgrounds and traditions. The collection isn't simply a chronological survey of Western art; it actively seeks out narratives often overlooked by mainstream institutions, highlighting Indigenous Australian art practices, celebrating the contributions of women artists, and showcasing the artistic innovations of cultures beyond Europe and North America. The recent exhibitions exploring contemporary Indigenous art practices, for instance, have been particularly impactful, offering vital insights into Australia’s complex history and ongoing cultural dialogue.
近期展览探讨了当代澳大利亚原住民艺术实践、纪念澳大利亚大师的回顾展，以及通过视觉艺术调查全球社会问题。美术馆始终致力于应对我们这个时代最紧迫的问题，利用艺术作为批判性反思和对话的催化剂。导览游阐明了藏品中的亮点及其历史背景，从而促进对艺术意义更深入的理解。目前，“鲁昂的房子”由爱德华·马奈创作，以及金比的摄影专辑和巴尼的田园风光画，体现了美术馆致力于展示国内外人才的奉献精神。这些展览证明了NGV将不同叙事无缝编织在一起的能力，从而为参观者创造了一种丰富而多层次的体验。
真正使NGV与众不同的地方是其对艺术欣赏的整体方法——一个沉思、发现和灵感的空间。它是一个文化基石，让艺术赋予历史以生命，促使参观者进行有意义的人类经验对话。美术馆的承诺超越了单纯地展示艺术品；它积极促进社区参与，通过教育项目、公开讲座和艺术家驻留计划来实现。NGV认识到艺术不仅仅局限于博物馆的墙壁之内，而是存在于更广泛的文化景观中，为墨尔本和澳大利亚的活力和智力生活做出贡献。美术馆对可及性的奉献确保了每个人都可以体验到艺术变革的力量，无论其背景或专业知识如何。
国家美术馆维多利亚网站：
https://www.ngv.vic.gov.au/
维基百科条目：
https://en.wikipedia.org/wiki/National_Gallery_of_Victoria
Instagram账户：
@ngvmelbourne
originaluniqueart.com/zh/art/download/chen-hongshou-plum-blossom-study-D4375V-en/
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Plum-blossom study — Chen Hongshou
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